Since 2017 I’ve worked as an editor in the digital department at The Metropolitan Museum of Art, where I acquire and edit writing about the museum’s exhibitions, collection, and scholarship. In early 2019 my role was expanded to also include producing video and audio content, and my beat was refined to encompass exhibitions and artworks currently on view. I also then joined a small working group tasked with reconceiving the museum’s online editorial strategy.
With tens of millions of visitors to The Met’s website each year, the museum’s audience is unmatched in the arts. The museum has historically catered well to the historians and art-world professionals who make up a significant portion of its audience, however its total visitorship overlaps more with Netflix than Texte zur Kunst, for example. Paradoxically many of the contributors to the museum’s online publications prefer to write primarily for an arts specialist audience. Editing interpretive content for this broad swath of the public is a rigorous and strategic process, and also a highly collaborative one.
Oliver Beer’s Vessel Orchestra and the Democracy of Sound, interview by Lauren Rosati
Rediscovered Images Provide New Insights in Arms and Armor, by Georgia Southworth
After Three Hundred Years of Fading, a Dutch Masterpiece Is Digitally Restored, by Gerrit Albertson
Gertrude Whiting’s Bobbin-Lace Sampler and the Connoisseurship of Lace, by Elena Naomi Kanagy-Loux
Ronald Lockett’s The Enemy Amongst Us and the Artistic Lineage of Bessemer, Alabama, by Aleesa Alexander
In 2017 through 2019 I was an associate art editor at The Brooklyn Rail, an independent newspaper of art and politics with an online readership of about one million and a print distribution over forty thousand. Its core is the Artseen section, which publishes forty reviews of art exhibitions each issue, ten times a year. Not only is this section the paper’s most widely read, it largely drives its fundraising.
The Brooklyn Rail is rare among art publications in its commitment to nurturing emerging writers directly alongside regular columns by some of the most prestigious names in criticism. Working with such a wide range of contributors—though representative of the art world’s scope and scale—meant thinking hard about how best to match writers with subjects such that the section moved in unexpected and compelling ways yet remained cohesive and coherent. I commissioned / assigned, line edited, and copy edited about a third of Artseen’s reviews, and during my tenure we launched a new series—1 by 1—in which a critic responds to a single work of art.
Berthe Morisot: Woman Impressionist, by A. V. Ryan
74 million million million tons, by Andreas Petrossiants
Thomas Cole’s Journey: Atlantic Crossings, by Joe Bucciero
Mika Rottenberg, by Emily Watlington
The Risorgimento of Arte Povera, by Steven Pestana
Delacroix, by Jason Rosenfeld
I’ve held junior editorial positions and internships at the The Solomon R. Guggenheim Museum, Artspace, Public Books, National Geographic, and other organizations. I’ve also worked in media (at Mashable, where I shot and edited for the photo desk) and at agencies, producing branded content. Long before I was a commissioning editor, I learned to copy edit, fact-check, proofread—the tenets of fastidious editorial work.
View my curriculum vitæ.